Where every season of the original masterpiece would develop from an easy hopeful start into a maelstrom of conflicting intrigues and disturbing emotions, Rana Naidu doesn’t even seem to try to catch that mystery and give it an authentic vibe with its plot and acting.
Rana Naidu’s story begins in Hyderabad for a brief period of time and his move to Mumbai, along with his brothers and wife, propels his rise to be the handyman of the political leader OB Mahajan.
The series is a try-hard.
It tries hard to fit in the crude language that doesn’t go well with the rest of the elements of the show.
It tries hard to give the original plot an Indian twist and then fails miserably at it.
It tries hard to make the actors act roles they don’t seem to even understand properly.
It tries hard to make us want to connect to the characters.
And yet, all that labor is in vain.
Rana Naidu – A Product Of Lazy Writing
“Feminism means if a woman tells a man to put a gun to her head, the man should think with his head not his ****”
Such intellect, much amazed, aren’t you? Because we were!
What a dialogue. It makes you want to think, scratch your head, and ultimately blow your brains out.
Where’s the logic? Where’s the sense?
If only including multiple (and bad!) sex scenes and profanity were the parameters people judged shows by, Rana Naidu might as well win the award for the best series ever.
But the half-baked plot, crass performances from the actors, and the alarming cringe factor in the series is simply painful to watch.
Rana Naidu is that television monstrosity that should never have been given the chance to hop out of the director’s head and hit the screens.
Oh, well! Accidents happen. We’ll just chuck it in the bucket and move on.